The Original Sonic Sense Nakamichi Cassette Deck FAQ Archive
This informational archive page is currently under development. Soon, we will have the complete Sonic Sense Nakamichi Cassette deck FAQ posted for reference purposes. Important - This page is a re-creation, intended for historical purposes only. Your patience please, calling Dr Sonic Sense!!!
This FAQ is divided into four main sections for your convenience:
******SERVICE*******
Q: What is Azimuth?
Q: What is bias?
Q: What is level calibration?
Q: Why does Nakamichi use different calibration tapes and are they really necessary?
Q: What are the most common failures?
Q: Are parts still available for older machines?
*******Features******
Q: How do new Nakamichi decks compare to earlier models?
Q: Should I save for a 3-head or will a 2-head suffice?
Q: What does discrete head mean?
Q: Do I need bias fine tuning?
Q: What is pitch control?
Q: Is the master fade supposed to mute abruptly before the fade is complete?
Q: Do I need auto reverse?
Q: How has Nakamichi dealt with the problems associated with auto reverse?
Q: Which Naks are rack mountable?
Q: Do any Naks have XLR inputs/outputs?
******Mechanics******
Q: Is there an easy way for me to tell if a deck has the gear update? What would I be looking for?
Q: How does direct drive differ from belt drive?
Q: What is assymetrical dual capstan?
Q: Are the dual capstans supposed to spin all the time while the unit is on but stopped?
Q: When did Nak change its transport?
Q: What has Nakamichi done to keep their machines from "eating" tapes?
Q: What's the strange cage around the play head on the dual capstan units?
******Other Items*******
Q: Will the incompatibility issue of Nakamichi decks lower my appeal in tape trees and in trading circles?
Q: Why buy a Nakamichi cassette deck when some are as expensive as current DAT machines?
Q: When did Nakamichi stop producing machines in Japan?
Q: What are your favorite Naks?
Q: Where can I get the original goodies (box, packing, service receipts, manual, etc.)
Q: Is Nakamichi discontinuing the manufacturing of cassette decks?
Q: What can I expect to pay for a previously-owned Nakamichi in good condition?
**The prices quoted are approximate upon availability of the machine. We are certain you will find them to be competitive. However, if you have read previous versions of this FAQ, you will notice that prices are actually going up. We are paying more for machines and typically putting more work into them to assure that they will be running well into the 21st century. All of our machines have been thoroughly reconditioned to be in excellent cosmetic condition, have been calibrated to meet original Nakamichi specifications, and they carry a 90-day parts and labor warranty.
The following abbreviations will be used:
ar=auto reverse; az=adjustable azimuth; bft=bias fine tuning; C=dolby C; cal=calibration; dc=dual capstan; dd=direct drive; gr=gear driven; 3hd=three head; i/o=inputs/outputs; lvl=level; olc=output level control: pb=playback; pc=pitch control; rcd=record; vu=VU meters; wrc=wireless remote control; 'xx=years of production.
All machines can be assumed to be 2 head, have Dolby B option, led meters, unless otherwise specified.
Well that covers a number of major issues. I hope this has been informative and helpful. Feel free to write with any additional questions. I look forward to hearing your feedback and helping you with all your Nakamichi needs.
Q: What is involved in a tune-up and how often do I need one?
Q: What is Azimuth?
Q: What is bias?
Q: What is level calibration?
Q: Why does Nakamichi use different calibration tapes and are they really necessary?
Q: What are the most common failures?
Q: Are parts still available for older machines?
*******Features******
Q: Why doesn't Nakamichi make a dual-dubbing deck?
Q: How do new Nakamichi decks compare to earlier models?
Q: Should I save for a 3-head or will a 2-head suffice?
Q: What does discrete head mean?
Q: Do I need bias fine tuning?
Q: What is pitch control?
Q: Is the master fade supposed to mute abruptly before the fade is complete?
Q: Do I need auto reverse?
Q: How has Nakamichi dealt with the problems associated with auto reverse?
Q: Which Naks are rack mountable?
Q: Do any Naks have XLR inputs/outputs?
******Mechanics******
Q: What is the difference between gear drive and the idler system?
Q: Is there an easy way for me to tell if a deck has the gear update? What would I be looking for?
Q: How does direct drive differ from belt drive?
Q: What is assymetrical dual capstan?
Q: Are the dual capstans supposed to spin all the time while the unit is on but stopped?
Q: When did Nak change its transport?
Q: What has Nakamichi done to keep their machines from "eating" tapes?
Q: What's the strange cage around the play head on the dual capstan units?
******Other*******
Q: Do Nakamichi tapes not sound good on Non-Nak decks?
Q: Will the incompatibility issue of Nakamichi decks lower my appeal in tape trees and in trading circles?
Q: Why buy a Nakamichi cassette deck when some are as expensive as current DAT machines?
Q: When did Nakamichi stop producing machines in Japan?
Q: What are your favorite Naks?
Q: Where can I get the original goodies (box, packing, service receipts, manual, etc.)
Q: Is Nakamichi discontinuing the manufacturing of cassette decks?
Q: What can I expect to pay for a previously-owned Nakamichi in good condition?
******SERVICE*******
Q: What is involved in a tune-up and how often do I need one?
A: A tune-up, (a.k.a. a calibration), involves setting the play level, record level, bias for each tape type, and potentially speed and azimuth. (Optional because many owners have huge libraries recorded on their machines. Changing either of these would affect the sound of all tapes previously recorded on the machine). We also clean all switches and pots, check belts and idlers, and replace as necessary. Rates vary greatly but start at $45 + parts. If you use your machines frequently and want to keep them in perfect shape, it is a good idea to have them tuned annually.
A: Azimuth is the perpendicular alignment of the head in reference to the tape. Incorrect azimuth will result in loss of high frequency response and potentially uneven record/playback levels.
Bias is the amount of energy transferred to the tape. As tiny amounts of head wear begin, the tape gap grows slightly larger. It is therefore necessary to adjust so the proper amount of energy is transferred in order to maintain proper high-end response while maintained low THD.
A: It is the setting that assures that the level you record on tape in the record (source) mode is what comes back on play (tape) mode. Differences develop as uneven head wear occurs. Depending on use, an annual calibration is an excellent idea.
A: As the head gap is different than other brands, the tape must be specially cut using equipment that lines up properly with the Nak head. Using other tapes will not result in the accurate alignment and bias/level calibrations necessary to make a Nakamichi sound as it should.
A: With age, on two head machines and the 481, 581, and 681 record playback switches fail as they get old and dirty. A simple chemical cleaning will help for 6 months or so, but a replacement is the best answer. Expect the service to run $40 plus parts ($20). Recently, the pre-1983 machines are showing signs of idler wear. This is identifiable as chatter at the end of a rewinding. The tape stops but a strange noise comes from behind the cassette well. Occassionally, they even stop taking up tape. While this problem can be temporarily fixed by tightening a spring, the problem will return and the machine will suffer increased motor wear. The best bet is to tolerate the noise until the machine quits taking up tape. At that time, accept the
$100 + parts ($25) service. The machine will be set for the next 10-15 years.
...And, yes, there is the biggest "oops!!!" of all in Nakamichi history. The BX and CR idlers are much smaller and fail every 2-3 years. Idler replacement is $50 + parts ($10). The permanent solution to this is the gear update kit at $75 + parts ($60).
A: Nakamichi has been amazing in this regard. However, recently it has become more difficult to obtain cosmetic parts for older machines. Knobs and switches are rare. Fortunately, these items seldom need replacement. Again, Nak is great. All the previously mentioned common failure items are readily replaceable.
Q: Why doesn't Nakamichi make a dual-dubbing deck?
A: Having two decks gives you full control on setting/balancing levels, and on determining type of noise reduction, if any, to be used. Additionally, single well decks are built with higher performance in mind, as they are not catering to those who want convenience and economy. Nakamichi has never made a dual deck because they believe it would compromise integrity of the tape produced.
A: Nakamichi is still a good brand but they have buckled to the call of quantity sales. Their earlier models are
considerably different than the recent decks. There is what is known as, by analog lovers, the classic Nak warmth.
Newer decks just don't sound quite like the earlier models. Even though, as you have heard/read, they still surpass anything else on the market.
A: Three heads are a convenience for record/playback monitoring and it is nice to have a head dedicated to each
function. However, there are a number of extraordinary 2 head Naks (ex. 480, 580M, LX-3). Additionally, Nakamichi
made the 481, 581, and 681 which are all three head decks without tape/source monitor switches. They provide the
sound quality of a three-head but sell for a little less than their counterparts with t/s monitors.
A: The erase, record, and playback heads are all individual components. The result is better recording and playback as each head is dedicated to its specific job as compare to a 2 head which uses a common record/playback head whose function is determined by a switch or relay. Most three head machines allow for immediate monitoring or recorded signal with the exception of the 481, 581, and 681ZX. These machines have the sonic fidelity of a three head without the convenience or cost.
A: All of our machines are calibrated to TDK-SA/MA tape. If you use these, bias adjust is not necessary. It is a nice feature, especially if you use a variety of tape types.
A: Pitch control allows you to speed up or slow down the tape in order to make up for tapes that were recorded on amachine that was too fast or too slow.
Is there any way to change the timing on the fades and when the mute engages? A: There are two speeds of fade. Two
seconds if you hold the button in and four seconds if you just touch it and release.
A: Auto reverse is a great convenience to some people. For me, I usually have blank space at the end of my tapes. I would rather flip the tape and have music than to endure the silence.
A: Since most decks can not obtain a perfect 180 degree turn of the head, which results in poor azimuth in one direction, Nakamichi refused to make an auto reverse deck for many years. They finally produced the RX-202 and RX-505 which are uni-directional auto reverse. The tape is actually turned around and the azimuth is unchanged. They also made the Dragon which features self-correcting azimuth in both directions.
A: 680/670 series, MR-series, and some Dragons have rack ears.
A: Yes, the MR-1 has balanced ins/outs as well as 1/4" inputs.
Q: What is the difference between gear drive and the idler system?
A: Gear driven means that the reel tables (posts that take up tape) are driven by a gear which meshes with other gears, as opposed to an idler (rubber disk) that pushes up against a brass bushing and the back of the reel tables. The earlier transport, my favorite by far, used a large idler. With the BX, CR, MR series decks, as well as the RX-202, Nakamichi tried to save money by building a much lighter weight transport. The idler in these was a mistake. Nak later provided a gear upgrade kit that could be installed. It wasn't that it was terrible but the idler needed replacement every 2-3 years whereas the earlier models only now, 15 years later, are showing signs of needing new idlers. The gear update is quite nice and is now standard on later model CR-decks, Cassette Deck, and DR-series.
A: The only machines than needed the gear updates are the BX-, CR-, MR-1, and the RX-202. The way to check is to
open the tape well cover and remove the two screws located on the top at either side of the black metal plate which sits behind the tape. These screws are small--Be Careful!!! Pull this forward but take note of the grooves this sits in at the bottom. Between the reel tables, there will either be a rubber wheel (size of a penny) or a gear. That's it. When replacing the back plate, be careful to re-align the bottom of it with the grooves on the capstan (metal posts at bottom). Failure to re-align properly can result in motor damage and poor tape alignment.
A: Instead of using a motor and a belt running to the capstan, the take-up side capstan has an electo-magnetic motor running it. In turn, with a belt, it moves the supply side capstan. In the unique case of the Dragon, both capstans are run directly.
Dual Capstan refers to the metal posts that you see down by the heads. A single capstan deck only has the metal/rubber wheel assembly on one side. A dual has it on both. Dual assists in more linear tape travel across the heads and results in less variances in the recorded/playback signal. The assymetrical means the capstan flywheels are different sizes, and therefore, rotate at different speeds. The result is greatly reduced wow and flutter and stable pitch. Still, a Nak single capstan machine "is driven by a flat belt which ensure seven tension and accurate torque transmission from it DC servo motor." Almost without exception, a single capstan Nakamichi sounds better than the majority of other brand's dual capstan decks.
A: Yes. This assures tape speed will be accurate open hitting play.
A: During the years 1982-84 as the LX/ZX series was exiting and the RX, BX series were coming in. The newer models
had a downsized transport. The greatest defect was the use of a smaller idler (rubber wheel between reel tables).
Because of the small amount of rubber, it tends to wear out every 2-3 years, especially in dry climates. We can only guess that Nakamichi took this approach to save money and maintain a quality deck in a very competitive market.
A: They have a tape motion sensor that will stop the machine if the tape has stopped moving for any reason.
A: It lifts the fibrous pad inside the tape in order to prevent scrape flutter--the bouncing of tape across the head--the result of uneven pressure on the tape. These pads are installed to put pressure on the tape to keep it in contact with the head in most machines but are not as consistent as the high-quality transport of the Nakamichi.
Q: Do Nakamichi tapes not sound good on Non-Nak decks?
A: The degree to which this may bother a listener will vary. Nakamichi tapes are certainly listenable on other machines but to fully appreciate the capability of a Nakamichi deck the tape should be played on one. Since the gaps on both the record and playback head is much narrower on a Nakamichi deck, the signal is recorded on a much smaller portion of the tape. The result is clearer detail, definition, and reduced crosstalk. However, other machines heads are not designed to read information in such a small area. As a result high-end and overall sound quality is reduced. Of course when this tape is placed in another Nak, all the sound is there and far surpasses what other machines could reproduce from the beginning. Almost important --> All must realize that subtle differences in azimuth between any two decks can create as great (if not greater) of a difference in sound quality between machines as the difference between Nak and non-Nak decks.
A: While there are those who choose not to own Nakamichis, most analog tape traders respect Nakamichi and consider
them the deck to have "when money allows." This high regard has resulted in many traders saying, "Well, you've got the better equipment. Why don't you just borrow these and return them as soon as you are done." What a Deal!!! For those to whom you will be sending tapes, they may not notice the incompatibility so much until they finally get into the Nak they have always wanted. Then, all those top-notch tapes you have made will fully come to life for them. Just consider it a big favor you are offering ahead of time.
A: There are still many of us out here who love analog. Nakamichi sounds warm and true to the original recording without the associated DAT harshness. Additionally, many people are still recording in analog. I know of many analog tapes that I prefer over their DAT counterparts (ie. using the same equipment just different decks).
A: The LX/ZX models were the last entire series produced in Japan. Some of the BX and CR series were Taiwan made
with the higher end units still made in Japan. This does not mean these aren't great machines. They still sound very nice but to some ears they lack the classic Nak warmth of the earlier electronics.
Based on duration of personal ownership, I will always love the ZX-7/9 because they are very user accessible. They
allow the user to do most functions that others require a technician for (ie.bias, pb/rcd level, and rcd azimuth). Unlike the Dragon, the play head is constant. They are simply awesome machines. The CR-7a, especially with a gear update kit, is also a great rig. It makes beautiful tapes but consolidates the ZX-7/9 "keys to the kingdom" into a simple "auto calibration" button. Push it and the deck calibrates specifically for the blank tape
you have just inserted. It also offers manual playback azimuth control which lets you dial the head to match a tape that was made on another machine. The result is accurate playback of all tapes.
My lead technician would not forgive me if I didn't mention the little tingle he gets from the 680 series. They were the epitome of Nakamichi. For years, Nak worked to perfect the classic transport. By the time the 680's were made, all the details were ironed out. Tremendous warmth with total reliability. This deck offered automatic record azimuth adjustment, pitch control, and record level calibration. Not only that, it has rack ears and can be used at half speed to make tapes that are still flat to 17kHz.
A: Nakamichi sells all original packing for around $65. This may not be the year's best bargain, but if you really want it, give them a call.
A: Word is, that as of the beginning of 1996, Nakamichi discontinued cassette deck manufacturing. While it is a strange thought to picture a world without new lines of Nakamichi tape decks every few years, we must remember that the hey-day for Nak decks was really in the early 80's, so the best of all machines have already been made and will offer many years of faithful service. Additionally, mechanical and electrical parts for most machines will continue to be available for quite a while.
A: The following list is comprised of common prices, not the Orion Blue Book which serves as a guide but is considerably low considering demand and availability. We have included the most common decks. Many others exist and pricing varies from machine to machine.
350 portable ('76-80) $150;
350 w/power pack $300;
550 portable (olc, '74-80) $250-325;
480 (dc, VU, '79-82) $185-220;
481(Z) (3hd, dc, VU, no tape/source monitor, 1979-81) $220-260;
482 (3 hd., dc, VU, '79-82) $265-295;
580 (dc, rcd cal, no metal, '78-81) $250-295;
581 (3hd, dc, rcd cal, no tape/source monitor, 1979-81) $375-425;
582 (3hd, dc, olc, lvl/bias cal, '79-81) $375-425;
582z (3hd., dc, olc, rcd lvl/bias cal, 79-81) $375-450
670ZX (3hd, dc, olc, rcd az/lvl cal, VU, '79-80) $425-475;
680 (3hd, dc, rcd lvl/az, 2 speed, olc, pc, '79-81) $400-450;
680ZX (3hd, dc, rcd lvl/rcd az cal, 2 speed, olc, pc, '79-80) $500+;
681ZX (3hd, C, dc, rcd lvl/rcd az cal, 2 speed, olc, pc, no tape/source monitor, '80-2) $475+;
682ZX (3hd, C, dc, rcd lvl/bias/az cal, olc, pc, '80-1) $525+;
BX-1 ('82-4) $150;
BX-2 (C, olc, '82-3) $165+;
BX-100 ('84-7) $170;
BX-125 (C) ('85-7) $190;
BX-150 (C, olc, '84-5) $225;
BX-300 (3hd, bft, C, dc, dd, olc, pc, '84-7) $425+;
Cassette Deck 1 (3hd, az, bft, C, dc, dd, gr, '90-2) $450-550;
Cassette Deck 1.5 (3hd, bft, C, dc, gr, '91-2) $400-475;
Cassette Deck 2 (2hd, bft, C, gr, '90-2) $250;
CR-1a (C, 1988-90) $150-200;
CR-2a (bft, C, '88-90) $175-225;
CR-3a (3hd, bft, C, dc, 1988-90) $400-450;
CR-4a (3hd, bft, lvl cal, C, dc, dd, olc, 1988-90) $500-575;
CR-5a (3hd, bft, C, dc, dd, olc, wrc, '86-90) $625-675;
CR-7a (3hd, pb az, bc/rcd lvl/rcd az auto cal, C, dc, dd, gold i/o, olc, real time counter, wrc, $850-1000;
DR-1 (pb az., bft, C, dc) $600;
Dragon (3hd, pb auto az, bft/rcd lvl/rcd az cal, C, dc, dd, olc, '82) $900-1100;
LX-3 (2hd, bft, C, dc, olc, '82-4) $300-350;
LX-5 (3hd, bft, C, dc, olc, '81-4) $400-450;
MR-1 (3hd, bft, C, dc, dd, olc, pc, xlr &1/4" i/o, '85) $475-525;
MR-2 (2hd, bft, C, olc, pc, 1/4" i/o, '86) $350-395;
RX-202 (2hd, ar, C, '82) $275-325;
RX-505 (3hd, ar, bft, C, dc, olc, 1984) $600-675;
ZX-7 (3hd, bft/rcd lvl/rcd az cal, C, dc, olc,1981-84) $625+;
ZX-9 (3hd, bft/rcd lvl/rcd az cal, C, dc, dd, gold i/o, olc, 1982-85) $800+;
++++++++++++++++++++++++
Updated March 2002 by:
Marc Nutter
Sonic Sense
sncsns@henge.com